Category: Concert Reviews

Posted on by Lauren Katulka

Reece Mastin @ Avoca Beach Theatre, Darkinjung Country/Avoca Beach – 4 October 2025

When I saw Reece Mastin at Ettalong Diggers back in 2016, I swore that while it was my first time seeing him, it wouldn’t be my last. I didn’t imagine I’d be left waiting nearly 10 years for a return visit. But it was all worth it to see him perform another acoustic show at one of my favourite local venues.

Local country-pop darling Chelsea Berman warmed up the crowds with a mix of originals and covers. It’s a testament to her talent that I hadn’t heard songs like “Going There” for years, but I remembered them well enough to sing along. It’s also impressive that she could capture the attention of a crowd interested in another artist with just her voice, an acoustic guitar, and her charm. The hush over the audience as she chatted easily between songs proved just how captivating she is. She had us hanging on her every word.

While this was another acoustic show from Reece, it was a very different one from the gig at Ettalong all those years ago. A decade ago, Reece seemed keen to prove himself as a serious original artist. Coming off the back of his brilliant Change Colours album, originals took centre stage. He wanted us to know what he could do. These days though, Reece doesn’t have to convince us. He’s got more original material under his belt, yet the set was a much more even mix of originals and covers. The cover that made the set last time was a fairly obscure Yes track. Now though Reece seems happier to play crowdpleasers he knows his fans will love. While he celebrated his love of classic hits with a stunning cover of Bonnie Raitt’s “I Can’t Make You Love Me” and the Irish folk ballad “The Fields of Athenry,” he made sure to connect with his predominantly young audience through some more contemporary choices. They seemed to lap up “Oh Caroline” by the 1975 and “Breakeven” by The Script, which he originally covered on the X Factor Australia all those years ago.

It feels like Reece has made peace with his time on X Factor and his early music career. While just a couple of those early hits made the set last time, he breathed new life into “Stars” and delivered the fairly cheesy “Girls (All Around the World)” without a hint of cringe. Watching the way the faces of audience members in the front row lit up, why wouldn’t you?

I really enjoyed the artistry Reece displayed all those years ago, but I had more fun this time around. I think he’s got the balance right. He doesn’t have anything left to prove. He’s got some fantastic music under his belt, so he can just have a good time delivering it with his bandmates. The smiles on the stage said it all. They hadn’t prepared an encore, because what do you do after “Good Night”? You come back and improvise. A cover of Chris Stapleton’s “Tennessee Whiskey” capped off yet another fabulous show at Avoca Beach Theatre. Reece promises us he’ll be back in our neck of the woods before long, so hopefully I’m not kept waiting close to a decade for the next gig! If you get the opportunity, make sure you catch Reece Mastin at one of the following shows before the year ends:

7 November 2025 – The Beer Shed, Tharawal Country/Leumeah
8 November 2025 – The Great Big Beer Band @ The Beer Shed, Tharawal Country/Leumeah
21 November 2025 – The Deck, Ballaarat/Ballarat
4 December 2025 – The Landing, Kyleeup/Alkimos Beach
5 December 2025 – The Stirling Arms, Mandoon/Guildford
6 December 2025 – The Burlington Hotel, Goomburrup/Bunbury
7 December 2025 – The Carine, Whadjuk Noongar Country/Duncraig

Photo credit: Stephen Katulka

Posted on by Lauren Katulka

Rent @ Opera House, Eora/Sydney

I wasn’t going to see Rent this time around. It’s my comfort musical, and I love it, but I always wonder just how many times I need to go. However, those canny folks at Opera Australia suckered me in with a free dinner promotion. Second row dress circle tickets and a delicious grilled barramundi dinner with a beer for $99?! It’d be rude not to! So I found myself at my fifth production of Rent last night.

I’m not one of those people who see a show multiple times within the same run. It’s always a show here and there. I saw the original Australian run in Naarm/Melbourne in 1998, a production in Philadelphia while I was holidaying there in 2004, an amateur theatre production in Mulubinba/Newcastle in 2017, and another production in Darkinjung Country/Wyong as the world was emerging from lockdowns in 2021. When you add in my familiarity with the original Broadway cast through the soundtrack and film, I know this musical better than any other. I have such clear ideas about what it’s “supposed” to be and opinions about what new productions get right, and what they get wrong. So how does the latest iteration playing at the Opera House measure up? On the whole, remarkably well.

There were some standout performances. I remarked last time I saw Rent that Sean Miley Moore’s Angel was the best I’d ever seen. Sorry Sean, but I think Jesse Dutlow may have stolen your crown. They floored me with their incredible vocals and heart. When a production casts Angel right, they’re halfway there. Calista Nelmes’ Maureen was breathtaking with vocals that hit that high bar Idina Menzel set and true commitment to this challenging role. She was matched beautifully by Imani Williams as Joanne. This is one of the more understated roles in the musical, one that can easily get overlooked because the character is straightlaced and doesn’t have any solo songs. However, Imani is so magnetic with such powerful pipes and personality that my eyes were drawn to her whenever she was on stage. And when she came together with Calista on “Take Me Or Leave Me,” my favourite song in Rent, I was spellbound.

This production didn’t take as many risks as the one I saw in 2021, preferring instead to stay faithful to Jonathan Larson’s original vision. While Jonathan created a brilliant music, I would always love to see productions putting their stamp on the show. There were a few little moments where this production changed things up, with mixed results. I can’t remember another production where Angel cried out in anguish as they lay in the hospital bed during “Without You.” I felt myself starting to tear up at that, much earlier than I normally do. Watching Angel ascend and get their wings in “Contact” was visually so powerful. However, I feel like introducing marijuana into “Santa Fe” diminished this song’s honest yearning for a different, better life, turning it into nothing but stoner ramblings. It deserved better. I’m also not sure the cardboard cutout policemen were nearly as effective as real humans might have been. They took me out of every scene they appeared.

Ultimately, Rent is about community, so it was only fitting that I felt this show was at its best when the cast came together. Special songs like “Seasons of Love” and “La Vie Boheme” were highlights. Hearing the voices of the stellar principles and chorus, watching their faces as they bounced off one another, was beautiful. And Rent is beautiful. There’s a reason I keep coming back to it. Whether you’re a longtime fan like me or you’ve never seen it, there are plenty of reasons to check out Opera Australia’s new version. It plays at the Opera House until November 1. Tickets are available now from the Opera Australia website.

Image source: Opera Australia media centre

Posted on by Lauren Katulka

Greg Gould & Karise Eden @ Flamingos Live, Mulubinba/Newcastle – 27 September 2025

Greg Gould and Karise Eden are long-time favourites of mine, so when I heard they were teaming up for their Lady and the Tramp shows, I couldn’t resist heading up the freeway to Flamingos Live. The poster promised a celebration of “the greatest jazz, blues, and soul.” These two talented Coasties delivered that and so much more.

I must admit, given the tagline and references to Frank Sinatra, Nina Simone, and Etta James in the marketing materials, I expected a show that played mostly in the old-school standards space. While vintage classics were certainly represented, Greg and Karise delivered a much wider retrospective of the songs that made them.

There were reality show favourites like Greg’s masterful performances of “Feeling Good” and “Purple Rain” and Karise’s show-stopping take on “It’s a Man’s Man’s Man’s World.” I’ve heard it so many times before, but I’m always floored. There were the crowd favourites, like “Ain’t No Mountain High Enough” and “Knew You Were Waiting For Me.” And then there were deep cuts, like Etta James’ “Damn Your Eyes,” which Karise said she would have preferred singing on The Voice to “I’d Rather Go Blind.” As a massive Janis Joplin fan, I was in raptures when she took on “Cry Baby” instead of the more predictable “Piece of My Heart.” While most song choices were nostalgic, a cover of Chappell Roan’s “Pink Pony Club” was an unexpected delight.

Greg and Karise are both incredible talents in their own right. This show gave them many opportunities to wow and charm us with solo performances. But my favourite parts of the night were the moments when they came together. Their Darkinjung Country/Central Coast roots and big breaks on reality TV have helped cement a natural rapport that’s wonderful to witness. To say nothing of their fantastic voices, which come together more naturally than you might think. Greg’s showmanship helped bring out a playfulness in Karise that I loved to see. For a night of sing-along fun with some of Australia’s best talents, make sure you catch one of Greg and Karise’s upcoming Lady and The Tramp shows:

7 November 2025 – Camelot Lounge, Eora/Sydney
8 November 2025 – Memo Music Hall, Euro-Yroke/St Kilda
6 December 2025 – Avoca Beach Theatre, Darkinjung Country/Avoca Beach

Photo credit: Lauren Katulka

Posted on by Lauren Katulka

Billy Ocean @ ICC Theatre, Eora/Sydney – 23 September 2025

When I saw Billy Ocean for the first time in 2023, I wrote “Now I’ve discovered how good he is live, I can only hope that he’s got a few more tours left in him.” I raved so enthusiastically about that concert my mum said she’d love to see him next time he was in town. So on Tuesday, we headed to Eora/Sydney for a girls’ night out.

As with the last tour, Billy partnered with an emerging artist with an impressive collection of originals. Western Australian artist Jason Ayres came armed with plenty of charm and an easy blend of rock, folk, pop, country, and blues. His bio cites John Mayer, Ryan Adams, and Keith Urban as influences, which makes total sense when you see Jason live. He’s got a similar earnestness about him. While he’s quick with a smile for the crowd, you know he’s serious about his craft. His originals are very good, but he also sweetened the deal with stellar covers of Cher’s “Bang Bang” and Chris Isaak’s “Baby Did a Bad Bad Thing.” I wasn’t sure how his set of largely originals would go down with the crowd here for a nostalgic show, but I needn’t have been concerned. By the final song, they were enthusiastically clapping along to the beat, totally unprompted. You can’t ask for more than that.

I must admit, I felt a little sense of déjà vu seeing Billy. He opened with the same three songs as the last tour: “One World,” “Love Really Hurts Without You,” and “Nights (Feel Like Getting Down).” While the set has changed a little – “There’ll Be Sad Songs (To Make You Cry)” was a notable omission this time around and “Stay the Night” and “Daylight” are new inclusions – essentially what you get when you see Billy is the greatest hits show every time. And honestly, you can’t be mad at that.

Billy’s songs are fantastic and he performs them with such joy that it’s a pleasure to bask in his aura. I’m not sure I’ve seen many artists who take such clear delight singing songs they wrote decades ago. He tours relentlessly, he’s performed them countless times, yet his genuine smile never wavers. He’s authentically grateful to the crowd who lets him do this and he wants to give back, whether it’s with those still impressive vocals or a little shimmy and shake as he dances across the stage with more confidence than most 75-year-olds would. And they love him back, rushing the stage near the end to dance along to hits like “When the Going Gets Tough, the Tough Gets Going” and “Caribbean Queen.” Being amongst such a rapturous crowd enjoying songs like that is just such good pure fun.

While Billy Ocean didn’t reinvent the wheel with this concert, he didn’t need to. He gives the people what they want, singalong hits delivered exceptionally well with a healthy dose of charm and joy. You can’t ask for more than that.

Photo credit: Lauren Katulka

Posted on by Lauren Katulka

George Clinton with Parliament Funkadelic @ Enmore Theatre, Eora/Sydney – 21 September 2024

The word legend is bandied about far too freely in the music industry for my tastes. Very few deserve the title, but the crowd at the Enmore Theatre last night knew the man they came to see was one of those rare talents. You could feel the energy crackling through the air, that certain something that told us we were in the presence of greatness. That man, the myth, and the legend was the one and only George Clinton.

While the tickets told us the show started at 8, Kiwi band Drax Project were already lighting up the stage as we found our seats. I became an instant fan, impressed by their easy blend of soul, funk, and pop and youthful energy. Shaan Singh’s vocals gave me chills and his saxophone skills were the cherry on top. Watching him vibe with his bandmates was such a thrill. Apparently George Clinton and his crew have been so impressed by Drax Project’s sets that they’ve given them a little more time each night. The extended set gave them the opportunity to road test new material, which the crowds lapped up. I can’t remember the last time I heard an audience cheer when a band announced they’d play fresh originals. Being amongst such receptive music lovers hearing such incredible music was a joy.

After such an explosive opener, my expectations were sky high but if anyone could meet them it’s a legend like George Clinton, the Grandmaster of Funk. From the moment he took the stage with Parliament Funkadelic, the show was a total vibe. George was there in glitzy regalia, encouraging us all to put our hands in the air. His granddaughter Patavian Lewis was blowing bubbles and dancing up a storm in heels I could never contemplate walking in. The horns were tight, the vocalists were incredible, and I was living!

Sustaining that energy isn’t easy, but George and his crew somehow managed to keep the crowd in that rapturous space throughout their funktastic set. Big hits like “Flashlight” and “Atomic Dog,” fittingly saved for the final medley, were highlights, along with a delightfully unexpected cover of House of Pain’s “Jump Around,” but as with Drax Project the crowd lapped up everything this colourful crew delivered.

I didn’t get to see George in his prime, but no doubt he’s slowing down a little these days. There was a chair conveniently placed on the stage for him to rest whenever he needed. He’d take a moment to gather his breath before moving back to the front of the stage and continuing to give it his all. His vocals are limited these days, but he surrounds himself with exceptional singing talents, taking on the role of the captain overseeing a super-talented ship. On a personal note I was thrilled to see Uche, who I cheered on during American Idol in 2019, is now a part of Parliament Funkadelic. His exceptional vocals and dance moves, which the judges sometimes criticised for being too much, are perfect for a show like this. But every member of Parliament Funkadelic was exceptional.

Last night’s George Clinton show was like nothing I’ve ever experienced. It was a total vibe. I feel privileged to have spent a few hours basking in the aura of George Clinton and the incredible musicians he gathered for us on this Aussie tour.

Photo credit: Lauren Katulka

Posted on by Lauren Katulka

Mayday Parade, Jack’s Mannequin, & The Home Team @ Hordern Pavilion, Eora/Sydney – 13 September 2025

When people heard that I was heading to the Mayday Parade, Jack’s Mannequin, and Home Team show the day after returning from Japan they said I was crazy. But I’ve always believed you can sleep when you’re dead. And considering I love Jack’s Mannequin so much that I’m heading to the United States to see them on the Holiday from Real cruise in February, there was no way on earth I’d miss seeing them so close to home!

Running on pure adrenaline, I was psyched for this incredible triple bill. I wasn’t really familiar with The Home Team, but they quickly won me over with their energy and genre-bending sound. They’ve definitely got pop-punk at their core, but they know how to rock hard and bring some dance-funk into the mix. It’s such an unusual blend, but I was definitely here for it. Brian Butcher is one of the most charismatic frontmen I’ve ever seen. I could barely take my eyes off him, which is saying something considering the moves that guitarist John Baran and bassist Ryne Olson delivered. All without missing a note! Formed in 2013, The Home Team are one of the newer acts on the pop-punk scene. Brian seemed in awe of the moment, marvelling that their music has taken them to Australia and noting that their gigs back home are much smaller. They’ve definitely got the goods to play those big stages though. Their 10-song set was more generous than most afforded to opening acts, but I was entranced from start to finish. I’d see them again in a heartbeat.

Seeing how much time The Home Team had only made me more psyched for Jack’s Mannequin. It’s always a gamble to attend a show when you love the support act more than the headliner. You can easily be shortchanged. But I was treated to an hour of fantastic music from this band that means so much to me. I wasn’t there when Jack’s Mannequin had their time in the sun. Andrew McMahon’s music was a pandemic discovery for me, one that brought a rainbow of colour during a really dark time. So this was my first opportunity to see him in full-band mode and I relished it.

It was a totally different show than the stripped-back Andrew McMahon in the Wilderness one I saw in February 2023. While Andrew excels behind a piano, I loved watching him prowl around the stage and move into the audience to feed off their energy (no photographic evidence because he moves fast!). Seeing his connection with his bandmates filled my heart. The set list was also fire, featuring personal favourites including “Bruised,” “Dark Blue,” and one of the songs that hit me hardest during the pandemic, “Swim.” I know I’m biased when it comes to this band, but my friend Lisa, who is far less familiar with their music, leaned over to me during the set and said, “They’re fantastic!” Yes, they are. If it were possible, I’m even more excited about my US trip after Saturday’s set.

Understanding my love for Jack’s Mannequin and the travel fatigue I was fighting, Lisa asked me whether I wanted to stay for Mayday Parade. But I never considered leaving. Not for a second. While most of the crowd here no doubt discovered these bands in their adolescence, I’ve been on a bit of a pop-punk/emo kick in recent years that’s seen me diving into a lot of the fabulous music that wasn’t quite mainstream in this country including this band’s back catalogue. It’s a bold move for any act celebrating their 20-year anniversary to open up with a 2025 single, but the rapturous response to “By The Way” showed this crowd was up for anything. And that’s what they gave us, a set that took twists and turns as it celebrated all that makes Mayday Parade such a fantastic act. I was thrilled to hear my personal favourite “Jersey” come out early. As it wasn’t released as a single, I didn’t expect them to play it, but I lost my mind when they did. Along with the deep cuts, Mayday Parade also made sure to celebrate favourites like “Oh Well, Oh Well” and “Anywhere But Here.”

High-energy moments were contrasted with stunning emo ballads like “Miserable at Best” and “Terrible Things.” While they sounded beautiful, I wish they didn’t see lead singer Derek Sanders move to the back corner of the stage to play piano. He was totally obscured by the speakers from my seats on the left. And while I know it’s not very punk to sit at a rock show, I can’t recall another show where the lead singer spent any considerable time hidden away near the back of the stage.

When we did see Derek, he was incredible. I loved watching him jump around with such feeling, vocals never faltering despite his high-octane performance. He also seemed overcome with the emotion of the occasion, noting that Australian cities are among the band’s top markets for new material. I felt privileged to be amongst this crowd who continue to support this band. “Jamie All Over” was the predictable closer, but even though I knew it was coming I had such fun rocking out to it.

I came out of Saturday’s concert without the small shred of voice that I had been hanging on to. It still has not returned. I crashed out in record time once my head hit the hotel pillow. When people said I was insane to even contemplate going to the gig so soon after my overseas adventures, they were probably right. But I would do it all again, because it was incredible. Mayday Parade, Jack’s Mannequin, and The Home Team have just two shows left in Australia. If you’re on the fence, trust me: buy the tickets.

17 September 2025 – Hindley Street Music Hall, Tarntanya/Adelaide (ALL AGES)
19 September 2025 – Metro City, Boorloo/Perth (18+)

Photo credit: Lauren Katulka

Posted on by Lauren Katulka

Mark Wilkinson @ Avoca Beach Theatre, Darkinjung Country/Avoca Beach

For not the first time last night, I found myself marvelling at how lucky the Darkinjung Country/Central Coast community is to have a venue like Avoca Beach Theatre. It’s a place that champions not just live music, but original Australian music. It’s an intimate venue, one where you can go to hear artists with an audience who respects what they’re doing. Even in the support act, you won’t hear a peep, unless of course the artist encourages us to sing along. Only occasionally will you see someone raise their phone to capture a photo, but then it’s put away as they give themselves over to the music once more. You rarely see people getting up mid-set to head to the bar. They’re too busy being in it. The older I get, the more annoyed I become at all those things that take me out of the music and the more I appreciate venues that let me revel in it.

I can’t imagine seeing a show like last night’s gig anywhere else, and I’m glad I don’t have to. Mark Crotti opened the show with an incredible set of gentle acoustic folk that had us all hanging on his every word. He could be hilarious one moment, but then make our hearts break with songs like “Half a Cup of Tea” and “Paint Me.” Ordinarily, I don’t remember the songs that support acts sing, even when I enjoy them, so that tells you something about how incredible they were. I’m an instant fan.

Mark Wilkinson is one of those artists I’ve appreciated for many years, but never managed to see live. Falling for his latest album Wild and Hunted Things gave me the push I needed. Now I’m wondering why it took me so long. His voice has always drawn me in, but I think it’s better in person. It filled the hushed room, wrapping around us all like a warm hug. He performed many songs I didn’t know, but it didn’t matter. In a venue like this, where everyone is so quiet and respectful, I could hear every lyric. It was the perfect introduction, and a timely reminder that I need to dig a little deeper into his discography. He gave us a couple of covers: a stripped-back version of Roxette’s “It Must Have Been Love” that made me appreciate the lyrics in a way I never have before and a killer rendition of Bruce Springsteen’s “I’m on Fire.” When people talk about artists making songs their own, they’re talking about what Mark does.

Mark spent most of his time on the acoustic guitar, but also ventured over to the piano for a few songs. He said he was nervous about playing this instrument for us, but honestly, these songs were probably my favourites. What a well-rounded talent he is.

Even though we were all out on a Thursday night, no one seemed in a rush to go anywhere. When Mark told us he’d play an extra song in his encore, we were thrilled. Any excuse for us all to stay in the moment, revelling in such beautiful music a little longer.

When you intend to see an artist for some time, there’s always a risk they might disappoint you. But I can’t imagine a better night, seeing Mark playing songs from his latest album, with Mark Crotti on support, in such a special venue, with a good friend keeping me company. I’m so thrilled I got to experience it. Mark Wilkinson continues his Wild and Hunted Things tour with Mark Crotti on Saturday night in Mulubinba/Newcastle. Limited tickets are available for most of the remaining shows:

16 August 2025 – Stag and Hunter Hotel, Mulubinba/Newcastle
17 August 2025 – Flow Bar, Worimi Country/Old Bar
22 August 2025 – Imperial Hotel, Kabi Kabi Country/Eumundi
23 August 2025 – Old Museum, Meeanjin/Brisbane
29 August 2025 – Trinity Sessions, Tarntanya/Adelaide
30 August 2025 – Lyrics Underground, Boorloo/Perth
31 August 2025 – Kidogo Arthouse, Walyalup/Fremantle (SOLD OUT)
4 September 2025 – The Victoria Hotel, Bathurst
5 September 2025 – Smiths Alternative, Ngambri/Canberra

Photo credit: Lauren Katulka

Posted on by Lauren Katulka

Anthony Callea & Tim Campbell’s The Songs of Elton John and George Michael @ Civic Theatre, Mulubinba/Newcastle – 31 May 2025

The first time I saw Anthony Callea, he was performing the songs of George Michael at Taronga Zoo. I was so impressed that I’ve seen him several more times over the years. So it was a bit of a full-circle moment to catch him at the Civic Theatre on Saturday night reprising those George Michael classics. This time around though, the show’s gotten a bit bigger with the addition of Anthony’s husband Tim Campbell and some Elton John classics. It all added up to a hell of a lot of fun.

If you’ve ever watched Tim and Anthony’s social media videos, you’d know this show was always going to be pretty loose. The laughs came thick and fast as the pair chatted to the audience like they were old friends. Tim even bowed to the crowd’s peer pressure and did a shooey, much to Anthony’s disgust.

But while there was plenty of time for jokes, these guys know how to switch gears. Although they can be irreverant, they’re serious about music and the artists they pay homage to. Separately, emotional songs like “Kissing a Fool,” “Father Figure,” “Daniel,” and “Your Song” were so powerful. But then watching them together, harmonising so beautifully on tracks like “Jesus to a Child” and “Don’t Let the Sun Go Down on Me” was pure magic. The show’s sombre moments were balanced beautifully with Elton and George’s many dance hits. Getting on my feet to groove along to “Saturday Night’s Alright for Fighting” and a Wham! medley was so much fun. Anthony and Tim surround themselves with such quality talent, so I was thrilled to see long-serving backing vocalist Susie Ahern and Rocky Loprevite get moments out front for “I Knew You Were Waiting (For Me)” and “As.”

Anthony and Tim’s The Songs of Elton John and George Michael show delivered exactly what it promised. It was a celebration of classic hits delivered by two talents who are as funny as they are fantastic singers. With George already passed and Elton hanging up his microphone, we are so lucky to have Anthony and Tim celebrating their legacy. Limited tickets are available for their remaining shows, so get on them!

6 June 2025 – Mandurah Performing Arts Centre, Mandjoogoordap/Mandurah (SOLD OUT)
7 June 2025 – Astor Theatre, Boorloo/Perth (SOLD OUT)
14 June 2025 – The Events Centre, Gubbi Gubbi Country/Caloundra (matinee)
14 June 2025 – The Events Centre, Gubbi Gubbi Country/Caloundra (evening)
19 June 2025 – Frankston Arts Centre, Monmar/Frankston (SOLD OUT)
21 June 2025 – EVAN Theatre, Mulgoa/Penrith (SOLD OUT)
27 June 2025 – The Pilbeam Theatre, Darumbal/Rockhampton
28 June 2025 – Mackay Entertainment & Convention Centre, Yuwibara Country/Mackay

Photo credit: Lauren Katulka

Posted on by Lauren Katulka

Fanning Dempsey National Park @ Civic Theatre, Mulubinba/Newcastle – 16 May 2025

The release of The Deluge by Fanning Dempsey National Park was one of the unexpected joys of 2024. The coming together of Bernard Fanning and Paul Dempsey, two of the country’s most respected singer-songwriters, on original ’80s-inspired music was heaven. So I was thrilled to see them bring this album to life, and so much more, at the Civic Theatre on Friday night.

Local singer-songwriter Jen Buxton warmed up the crowd with her incredible songs. To say she was unassuming was an understatement. She introduced herself only as Jen – I had to do a bit of Googling to figure out exactly who to follow on the socials! Her songs were punctuated by self-deprecating humour. But I was transfixed. Her lyrics were incredible, and her rich, seasoned voice drew me in. When you can captivate an audience with only an acoustic guitar, you’re doing something right.

The Fanning Dempsey National Park set was everything I’d hoped for and then some. Recording this music together seems to have reinvigorated these artists. From the title track that opened their show, they seemed in high spirits. Songs like “Strangers” and “Disconnect,” which both came early in the set, have such a party vibe and you could feel that energy coursing through the room.

It was a night for celebrating the music Bernard and Paul make together, but also one for looking back fondly on the past. Something for Kate’s biggest hits “Ramona Was a Waitress” and “Monsters,” Bernard’s smash “Wish You Well” and his Powderfinger anthem “Pick You Up” all made the set. The latter track was especially electric, so it’s a shame that the Civic security wouldn’t allow us to feel the music and enjoy a little dance. While we complied with their request to sit down then, they were powerless when the whole floor stood to enjoy a rousing cover of “Under Pressure.” What a time! It also gave me the opportunity to bend the rules and snap a few cheeky photos for you.  

While they didn’t make this set, I noticed that Fanning Dempsey National Park have dropped a few new tracks this year. Hopefully it’s a sign that this pairing may have a few more albums and tours left in them. But just in case they don’t. I’d urge you to see them while you can. Limited tickets are available for the remaining shows on Fanning Dempsey National Park’s regional tour.

22 May 2025 – Powerhouse, Jagera, Giabal and Jarowair Country/Toowoomba
23 May 2025 – Venue 114, Gubbi Gubbi Country/Sunshine Coast
24 May 2025 – HOTA, Yugambeh Country/Gold Coast

Photo credit: Lauren Katulka

Posted on by Lauren Katulka

Les Miserables: The Arena Spectacular @ ICC Theatre, Eora/Sydney – 1 May 2025

10 years after the first time I saw Les Miserables on stage, I was keen to take it all in again at Les Miserables: The Arena Spectacular, a production celebrating 40 years of this revered musical. I mentioned last time I saw Les Mis that it’s much more my husband’s thing than mine. While I love musical theatre, my favourites are much more contemporary and a little less depressing. But I was psyched to see West End icons Alfie Boe and Michael Ball in the flesh. What a rare opportunity. They, and the rest of this stacked cast, did not disappoint.

That cast is really the most outstanding thing about this production. I knew Alfie and Michael would be incredible, but honestly they surpassed my expectations. Often you see people perform after decades in the business and wish you’d have seen them in their heyday, but these guys remain at the top of their game. Their vocals are simply incredible. Their intimate knowledge of the characters is evident in their performances. Their years of collaborating give them the sort of chemistry you rarely see at shows that throw together a bunch of stars. I’m sure the alternate Jean Valjean and Javert are incredible too, but I’m so glad I made a point to see these artists bringing their most beloved characters to life.

Alfie and Michael are the stars, as any artists with their storied careers, or indeed any Jean Valjean and Javert, should be, but they’re supported beautifully by the rest of this talented ensemble. Rachelle Ann Go’s Fantine drew me in with her warmth, poise, and passion. Beatrice Penny-Toure has the most angelic voice I think I’ve heard. She was perfectly cast as Cosette, and by the time he delivered a heartbreaking rendition of “Empty Chairs at Empty Tables” I was sold on Jac Yarrow’s Marius. James D. Gish is my newest theatre crush. I have a long history of falling for Enjolras and he embodied everything about this character that makes me swoon. I’d initially feared Matt Lucas may be stunt casting, but what an exceptional job he does as Thenardier. I love that this production gives him space to play with the role. Helen Walsh as Madame Thenardier reminded me that getting the alternate isn’t always a bad thing. I was really looking forward to seeing Marina Prior sink her teeth into a bawdier role than I’m used to, but Helen was exceptional.

The ICC is much larger than the Capitol Theatre, where I saw Les Mis all those years ago, but this production fills it. The massive set really helps you feel like you’re on the frontline of the French Revolution. The use of sound effects and lights brought the battle to life beautifully.

Sadly my husband’s eagerness to catch a train home meant that we missed the finale, where cast members from the original Australian production graced the stage. I can’t quite believe it. What an opportunity gone begging. But I refuse to let it take the lustre off what was a really special night of music, even for someone like me who isn’t a big Les Mis fan.

After completing its Eora/Sydney run, Les Miserables: The Arena Spectacular will head to Rod Laver Arena in Naarm/Melbourne and the Brisbane Entertainment Centre in Meeanjin/Brisbane. Good tickets are still available across the season. Trust me musical theatre fans; you don’t want to sleep on this one.

Photo credit: Lauren Katulka